La formation - le mot et la chose - envahit le champ des discours et des pratiques éducatives. Elle s'étale dans la durée : formation initiale, continue, bref permanente. Elle se répand dans l'espace d'une société que l'on n'hésite plus à qualifier de " pédagogique ". L'idée de formation brouille également les distinctions conceptuelles et obscurcit le discours pédagogique en s'insinuant quelque part entre " instruction ", " éducation ", " enseignement ", " apprentissage ". Savons-nous bien désormais ce que (...) nous sommes : enseignants, éducateurs, formateurs ou rien de tout cela, ou encore tout cela à la fois? On tente ici de clarifier le problème et d'esquisser quelques réponses : - peut-on isoler dans le champ des pratiques éducatives (école, formation professionnelle, formation psycho-sociologique...) les caractéristiques d'une problématique de formation? Comment développer alors cette problématique sur " le triangle de la formation "? ; - Quelles ressources la réflexion peut-elle tirer de la tradition philosophique qui, d'Aristote à Heidegger, en passant par Rousseau ou Bachelard, pense la forme et la formation? ; - Comment la philosophie contemporaine de l'éducation questionne-t-elle cet héritage et interpelle-t-elle nos pratiques de formation? Poser ces questions, c'est chercher le sens de ce que nous faisons, ici et maintenant, en formation. (shrink)

Postmodern culture is usually defined as an age of mechanical reproduction and mechanical degeneration characterized by the eradication of performative aura. This article argues that a crucial distinction should be made between the `anti-auratic' arguments of mainstream 20th-century cultural theory (discussed here in terms of the writings of Benjamin, Baudrillard and Virilio), and the regenerative auratic tradition in 20th-century avant-garde performance (discussed here in terms of the successive explorations of the multimediated body in the work of the Italian Futurist Marinetti, (...) the French sound poet Henri Chopin and the Australian cybernetic body artist, Stelarc). If Baudrillard's and Virilio's most extreme hypotheses argue that postmodern technology reduces the body to the condition of the handicapped, Marinetti, Chopin and Stelarc all demonstrate how technological modifications of the body reinforce the impact of installation art and performance art exploring (and manifesting) individual identity. Significantly, the most interesting subtexts in Benjamin's, Baudrillard's and Virilio's arguments all qualify their accounts of the alleged `death' of aura, and in Baudrillard's case now emphasize the ways in which photography `rediscovers' aura. (shrink)

When we view Chopin's later works in the context of his biography, we find a conjunction of real-life machines (trains, the telegraph), mimetic mechanical music (music boxes), and prolific textual variants. Particularly fascinating are several late pieces that feature canons, a form of strict counterpoint that at once evokes the notion of “machine music”—the leading line seems automatically to generate the following line—and produces relatively few textual variants that concern pitch. Variants in the realm of performing indications, though, occur (...) frequently. Chopin worked hard to ensure fidelity of pitch, but—this article shows—in giving the performer leeway to choose among various modes of performance, he ensured a role for individual expression in musical textures otherwise evocative of notions of science and logic. (shrink)

Frédéric Chopin is the epitome of the romantic artist; he had a chronic pulmonary disease that ultimately caused his death at the age of 39. An overlooked neurological condition is discussed in this paper. We consider the possibility of a temporal lobe epilepsy, as throughout his life Chopin had hallucinatory episodes, which can accompany seizure disorders.

The text, starting from the classic picture taken from Polish literature on the barbaric destruction of higher culture, first shows the contemporary manifestations of an attack on one of the basic...

A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these (...) levels. The most formalized aspect of the analysis is constituted by what has been called a modal grammar of the piece (the term modality understood here in its philosophico-linguistic sense). The analysis tries to show how the musical form emerges from its inner processual traits, kinetic, epistemic and other aspects of a modal nature. It thus approaches for instance the problem of segmentation from the processual and dynamic nature of musical works. Moreover, the analysis is also an attempt to study the narrativity in music, since the narrative content of a piece like Chopin's G minor Ballade is clearly seen as the result of its modal processes. (shrink)

Poetic translation of Tibullus Elegy I.3.

A proposta de análise dos contos The Night Came Slowly (1894) e A Reflection (1899) de Kate Chopin considera a perspectiva de Lefebve (1980) de que, embora com estruturas distintas, o discurso da poesia e o discurso da narrativa operam do mesmo modo e são capazes da mesma poesia. Intenciona-se mostrar como a prosa poética de Kate Chopin articula imagens líricas e uma linguagem simbólica para tratar de questões metafísicas e atemporais, assinalando o viés de crítica social da (...) autora. Para tanto, a análise será norteada pelos fundamentos teóricos propostos por Massaud Moisés, Octavio Paz, Jean Y. Tadié, entre outros, pelos aspectos simbólicos apontados por Gaston Bachelard e Mircea Eliade bem como por autores que embasam a crítica literária chopiniana.Palavras-chave: Prosa poética. Kate Chopin. The Night Came Slowly. A Reflection. (shrink)

The purpose of this study is to investigate the musical means of expressing sorrow in Chopin's melodic practice. In spite of all the studies of Chopin's music that have been done up to now, there is an area that has not been yet seriously investigated. Much of the previous research has dealt with Chopin's life, his connection with the Polish national spirit through his use of Polish national genres, and his emotional involvement with the Polish nation's fate. (...) Yet, there. is no research that investigates the relation between Chopin's onto-historical world and the nature of the expressive qualities of his melodies. ;The hypothesis of an extra-musical aspect inherent to melodic units of Chopin's music has one global idea behind it. The core of this idea, derived from the philosophical perspective of Martin Heidegger's approach to art, is that works of art reveal the historical life-world in which they were created. Following this, idea, the tragic circumstances of Chopin's life seem to lead this researcher to view the musical expression of sorrow as an integral part of his compositional idiom. ;The major challenge of the study is to show that the presence of particular musical means of sorrow is essential to Chopin's melodic practice. The subsequent understanding by performers of these emotional roots of Chopin's compositional idiom will most probably lead to a more meaningful interpretation of his music. (shrink)

Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 47 Heft: 1 Seiten: 340-363.

Rosemary Brown (1916-2001), a housewife from South-London, was one of the most famous mediums of her time. Throughout her lifetime, famous composers such as Liszt, Beethoven, Schubert, Debussy and Chopin sought her from the realm of the dead to dictate their posthumous compositions. Brown’s ‘received’ musical pieces became a case study for musicians and psychologists. None, however, ever came up with a convincing explanation for the pieces’ existence. Rather than being a story of sheer madness or clairvoyance, in this (...) paper I read Brown’s musical forgeries as a ‘testament’ to twentieth‐century Western culture’s fascination with originality and the cult of genius. Ideologies of authorship and authenticity shape our aesthetic appreciation, so that music’s essential value is for us more than just ‘sounding good’. Drawing on recent philosophical discussion in aesthetics, I question this cultural framework by scrutinizing the concept of artistic creativity. It is because art is a form of creative achievement that history and provenance count as central factors of our evaluation. This, in turn, may reveal us something about the value of musical forgeries. (shrink)

Que la musique soit faite pour etre ecoutee semble une evidence, et pourtant... C'est pour guider les melomanes et les aider a passer d'une audition passive a une ecoute active que Jean-Yves Bras partage ici son experience d'ecouteur. Apres avoir defini ce qu'est la musique, il s'interroge ensuite sur la nature de l'ecoute: que faut-il entendre par ecouter? Sur quoi porter notre attention? Comment ecouter? Les conditions materielles dans lesquelles nous consommons la musique, notre comportement au concert ou a l'ecoute (...) d'un disque, ont egalement une incidence importante sur la qualite de notre ecoute. Puis il analyse ces liens si mysterieux et si essentiels tisses entre compositeurs, interpretes et nous-memes, auditeurs. Enfin, il trace a grands traits l'histoire de nos oreilles de l'Antiquite a nos jours, pour conclure sur les differentes categories d'auditeurs actuels. Parallelement, l'auteur a cree un site Internet, www.artdecouter.fr, qui apporte un complement d'information agremente d'exemples sonores. Ce chemin d'initiation se parcourt sous forme de dialogue: une jeune personne souhaitant s'instruire, Mademoiselle Croche, nous permet par ses questions d'entendre s'ouvrir pour nous le langage de la musique. Jean-Yves Bras a ete directeur de la Documentation musicale de Radio France et a participe a de nombreuses emissions. Responsable artistique du Festival Chopin a Paris, il est l'auteur des Courants musicaux du XXe siecle et d'un ouvrage sur le chef d'orchestre Carlo Maria Giulini. (shrink)

Introduction -- Prelude: from gesture to virtual agency -- Foundations for a theory of agency -- Virtual environmental forces and gestural energies: actants as agential -- Virtual embodiment: from actants to virtual human agents -- Virtual identity and actorial continuity -- Interlude I: from embodiment to subjectivity -- Staging virtual subjectivity -- Virtual subjectivity and aesthetically warranted emotions -- Staging virtual narrative agency -- Performing agency -- An integrative agential interpretation of Chopin's Ballade in F minor, op. 52 -- (...) Interlude II: hearing agency: a complex cognitive task -- Other perspectives on virtual agency -- Postlude. (shrink)

This article aims to discuss the gestural character of Chopin’s pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.

The article deals with the perception of the Pope John Paul II and Poland in the two speeches of the Presidents of the United States of America. The George W. Bush’s speech given on the occasion of the dedication of the Pope John Paul II Cultural Center in Washington DC on March 22, 2001 and the Donald Trump’s speech delivered in front of the Warsaw Uprising Monument on the Krasinski Square in Warsaw on July 8, 2017 were used as the (...) sources for the study. The former speech is a laudation in honor of the Pope from Poland, whose biography was considered by the 43rd President of the United States as one of the most interesting in human history. Among the most notable episodes of the pontificate, George W. Bush listed the 1979 pilgrimage to his homeland, the 1995 visit to Manila in Philippines, the unprecedented visits to a synagogue and a Muslim country, the forgiveness shown to Ali Ağca – the would-be assassin, and the visits to the United States during which the Pope from Poland reminded the people of human dignity and the virtues of a just society. The latter speech is a laudation on the spirit of the Polish nation. Donald Trump emphasized the steadfastness of the Poles in the struggle to preserve their cultural identity despite the loss of their homeland. He recalled the period of partition and extermination of the Polish nation by the German Nazis and the Soviet Communists during World War II. The 45th President of the United States reminded the world about famous Poles: Nicolaus Copernicus, Frederic Chopin, Casimir Pulaski, Thaddeus Kosciuszko and Saint John Paul II. He also spoke about the lasting ties between the Americans and the Poles and about the common values cherished on both sides of the Atlantic. On the example of social transformations in Poland and Europe initiated by John Paul II’s pilgrimage to Poland in 1979, Donald Trump emphasized the influence of faith in God on political and social transformations in the world. He also expressed hope for the survival of Western civilization based on faith in God and the preservation of family and freedom. (shrink)

To a modern observer of Western culture, Romanticism might appear conflicted about size. On the one hand, the likes of Chopin and Scriabin best expressed themselves through small-scale compositions, while, on the other, there were those who, like Wagner and Mahler, produced colossal works. The aim of the present article is to explore the phenomenon of miniaturization in Western culture and to examine how miniature works (e.g., literary fragments, preludes) competed with their much larger counterparts. My central claims are (...) threefold: (1) that miniaturization, contrary to common belief, is not a contemporary phenomenon; (2) that the attitude of Romanticism to size was not paradoxical but rather an attempt to harmonize the fragment and the colossal; and (3) that in contemporary culture, the fragment and the colossal are no longer in harmony with each other. (shrink)

L'oeuvre de Vladimir Jankélévitch mêle intimement philosophie et musique, régime de correspondance auquel le philosophe-musicien a toujours aimé se tenir. " La musique, rappelle-t-il, est un art temporel non point secondairement, comme la poésie, le roman ou le théâtre, mais essentiellement. " Son domaine est la " temporalité enchantée ", le mystère de l'instant, le charme de la nostalgie, du nocturne et des parfums de la nuit, du lointain, du silence surtout, puisque la musique, née du silence, y retourne. Ce (...) livre réunit des textes peu connus, inédits ou depuis longtemps inaccessibles. Comptes rendus de concerts et de festivals, évocations poétiques des musiciens chers à son coeur : les musiciens français, particulièrement Debussy, Ravel, Fauré ; les musiciens de l'Europe centrale, Chopin et Liszt, le rhapsode et baladin du monde européen, image même de notre modernité ; les génies de la musique russe, notamment Moussorgski et Rimski-Korsakov. Pour Vladimir Jankélévitch " on ne pense pas la musique ", mais on peut penser en musique, ou musicalement. Le lecteur retrouvera dans ces textes le bonheur de la mystérieuse connivence d'une pensée sur la musique qui donne à entendre musicalement. (shrink)

Music and the symptom -- The acoustic mirror as formative of auditory pleasure and fantasy : Chopin's Berceuse, Brahms's Romanze, and Saariaho's "Parfum de l'instant" -- Debussy and the three machines of the Proustian narrative -- Chopin dreams : the Mazurka in C♯ minor as sinthome -- Intermezzo : on agency -- Postmodern quotation, the signifying chain, and the erasure of history -- Lutoslawski, molar and molecular.

Inspired by a passage from Kate Chopin’s The Awakening, this article considers the possibility of a “medical sublime.” It works through a history of the sublime in theory and in the arts, from ancient times to the present. It articulates therapeutic dimensions of the sublime and gives contemporary examples of its medical relevance. In addition, it develops the concept of sublime-based stress-reduction workshops and programs. These workshops bring the sublime out of the library and the museum into the lives (...) of the healthcare community—patients, families, clinicians, staff, concerned others—in the service of better navigating human vulnerability and finitude. Opening the cannon of aesthetic theory and the arts as resources for the human condition is at the heart of health humanities. The sublime can be an invaluable tool in this task. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Leonard Tan and Mengchen Lu, “‘I Wish to Be Wordless’: Philosophizing Through the Chinese Guqin.”Chiao-Wei Liu“I wish to be wordless” connects Chinese philosophical thinking to music education at large. Through discussions of values associated with the Chinese instrument guqin, Leonard Tan and Mengchen Lu exemplified “how music serves as ‘Truth tool’ in the Chinese philosophical tradition.” Specifically, the authors explored four ideas: “Search for Truth” (求真), “Search (...) for Harmony” (求和), “Search for Ethical Awakening” (求覺), and “Search for Sagehood” (求聖). These ideas embody insights from three major Chinese philosophical traditions: Confucianism, Daoism, and Buddhism. Time prevents me from exploring the complex issues related to the interpretation and translation of classical Chinese texts, but I will attempt to focus on some of the authors’ arguments and how they relate to the practice of music learning and teaching in the classroom.1Quoting Confucius in their article title, Tan and Lu called attention to the suspicion of language found in the conversation between Confucius and his disciple. Extending the argument, the authors referred to Daoist philosophers and argued that although language can transmit wisdom, words remain limited in their ability to capture “the grand unity of the whole” and thus can “detract us [End Page 199] away from Truth.” Tan and Lu suggested that music, unlike language, serves as a truth “tool” and allows one to arrive at the Dao (Truth). Truth is conceived as a way of understanding the world, “a universal order, a new world perspective....” I agree with the authors about the limitations of language in capturing the complexity of human experiences, yet I am perplexed at how Truth is interpreted throughout the article.For example, in their discussion of “Search for Truth,” Tan and Lu related the art of playing the guqin to the Buddhist notion of mingxin jianxing (明心見性), clearing the heart-mind, seeing the inner-self, and locating Truth within the guqin player. Truth here is framed as good moral qualities residing within one’s innermost self (xing 性). Based on Li Zhi’s argument, Tan and Lu stated that “since a guqin player is all about her heart-mind and one’s music is all about the musician, music is the heart-mind of the musician.” Assuming that the heart-mind of the guqin player and the music are one, Tan and Lu suggested that when music and the musician’s innermost self are in sync, the musician may be able to attain spiritual Enlightenment. The example of Chopin’s Nocturne Op. 9, no. 1 helps readers learn that Truth does not reside within the performer or the music, but is located in the space where the two are in sync: “An ‘authentic’ performance of Chopin is one that is not only ‘true’ to Chopin and the stylistic conventions of his times, but also ‘true’ to the performer’s innermost being.”While Tan and Lu’s argument places Truth in both music and the innermost self (xing) of the performers, herein lies an assumption that qualities aligned with the music are ethically good, whereas those that differ are not. The search for Truth is thus a task of refusing any potential influence by “unethical thoughts” in order to stay true to the music. Recognizing the existing norms guiding various music traditions, I wonder how ethical and unethical thoughts are understood in music classrooms. As a music teacher, if unethical thoughts are interpreted as materials and expressions that are different or irrelevant to the music work, how do music teachers make sense of students’ feelings—whether they are the longing for a sense of belonging in the school ensemble or the desire to excel in certain aspects of school life? Are these feelings or desires “unethical” because they are separate from the musical work? If all acts dedicated to the faithful representation of the music work are considered ethical, how about the different needs of different students?Furthermore, in describing “Search for Ethical Awakening,” Tan and Lu stated that music written for the guqin is often associated with moral stories. Learning about the stories associated with music would be mandatory for performers to be morally and spiritually attuned to the composer. While I agree with the authors... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 30-42 [Access article in PDF] How Can Music Seem to be Emotional? Kingsley Price Johns Hopkins University Preliminary Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really is (...) guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion. [End Page 30] The Problem Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place. The Perception In sense perception there are two major constituents.1 One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it... (shrink)

This book reflects the increasing significance of musical performance studies in recent decades. Originally published as separate essays over thirty years, the twelve chapters have been refashioned as a monograph which is both scholarly in nature and intensely personal, building on the author's extensive musical experience, most notably as a pianist. Hence the primary focus on piano music by Chopin, Schubert, Liszt, Brahms and Rachmaninoff. The book's cross-cutting themes nevertheless apply to diverse performance idioms and domains. By exploring themes (...) in complementary ways, the book offers broad insights into musical ontology, epistemology and semantics while demonstrating various methodologies now used to study performance. Among other things, it highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity. There are many practical insights too. The volume has four sections, focusing on 'performance and performance studies', historical performance, analysis and performance, and artistic research. Case studies of romantic masterpieces for the piano feature throughout. (shrink)

Life Is Short--Art Is Shorter is not just the first anthology to gather both mini-essays and short-short stories; readers, writers, and teachers will get will get an anthology; a course's worth of writing exercises; a rally for compression, concision, and velocity in an increasingly digital, post-religious age; and a meditation on the brevity of human existence. 1. We are mortal beings. 2. There is no god. 3. We live in a digital culture. 4. Art is related to the body and (...) to the culture. 5. Art should reflect these things. 6. Brevity rules. The book's 40 contributors include Donald Barthelme, Kate Chopin, Lydia Davis, Annie Dillard, Jonathan Safran Foer, Barry Hannah, Amy Hempel, Jamaica Kincaid, Wayne Koestenbaum, Anne Lamott, Daphne Merkin, Rick Moody, Dinty W. Moore, George Orwell, Jayne Anne Phillips, George Saunders, Lauren Slater, James Tate, and Paul Theroux. (shrink)

A complex, polyvalent phenomenon, the kiss, once embedded in a literary text, is first and foremost a cipher to be decoded. Texts effectively expose its many-sidedness: not merely its potentially seductive power or ostensible expression of affection, but, no less compellingly, its risky demeanors, its capacity to establish dominance, to terrorize, to subdue, to belittle, to ingratiate, even to infuriate. Variously bestowed, retracted, avowed, disavowed, meaningful, meaningless, the kiss can become, as it does in the work so named by Kate (...) Chopin, a multi-layered form of contrivance, the incarnation of tempting, albeit ultimately invidious, non-realities. Though, perhaps, not manifest at first blush, a careful reading reveals that each occasion marked by the “joining of lips” yields an odd sequence of awkward and oft deleterious, consequences: motion is superseded by motive, candor by disingenuousness—all in an unending slew of backward and forward slippages. Thus is engendered the metaphorization of an altered reality—structured all but exclusively upon the relentless deceits it proffers. Jubilation and despair come and go, as though wholly inter-changeable; acceptance and rejection, promulgation and rescission are converted into mere variants of the same gestures of ambivalence, if not of travesty. One might thus conclude that the kiss adopts significance worthy of note only as a metonym for and of factitiousness, vacuity and thinly-veiled distortion. Chopin’s script adeptly explores the multifarious comportments and consequences of the kiss: an act fashioned as a “weapon” of dubious value, as a tactical strategy, as a play-act borne of ulterior objectives and, which, as such, deftly prostitutes itself, willingly, nefariously. In the given context, the kiss-act lays bare the heroine’s ostensible “liberation” to be more imagined than real. Her would-be triumph over gendered subjugation exists, if at all, as but an ill-conceived romantic daydream—destined to slake gradually into a woeful destiny of loneliness and imprisonment. Chopin’s brief narration center-stages betrayal, challenges authenticity and valorizes consummate illegitimacy. -/- . (shrink)

A fascinating and hugely original book that explains how a vexing technical puzzle was solved, making possible some of the most exquisite music ever written. From the days of the ancient Greeks, the creation of music was thought to be governed by divine and immutable mathematical certainties. But over time skeptics came to understand that those rules limited harmonic possibilities. In Temperament , we see the traditionalists and the innovators battling across the centuries, engaging great thinkers like Newton, Kepler, and (...) Descartes as well as musicians, craftsmen, church leaders, and heads of state. At the heart of their dispute is the question of how the tones of a musical scale should be selected. The breakthrough came in the eighteenth century, when the modern keyboard was given perfect musical symmetry through a tuning of equal temperament, each pitch reliably equidistant from the ones that precede and follow it. This tuning allows a musical pattern begun on one note to be duplicated when starting on any other; it creates a musical universe in which the relationships between tones are reliably, uniformly consistent--a universe of greatly expanded possibility, one that allowed Liszt, Chopin, Brahms, Debussy, and all those who followed to compose the piano music we listen to today. Stuart Isacoff relates the story of the reinvention of the piano--a story that encompasses social history, religion, philosophy, and science as well as musicology--in a concise and sparkling narrative. Temperament is a jewel of a book. (shrink)

Things strike me in a variety ways. F and F# sound slightly different, ripe and unripe tomatoes neither look nor taste nor smell the same, and silk feels smoother than corduroy. In each case, I distinguish an experience of something on the basis of what it is like to be its subject. That is to say, in philosophical parlance, if not quite the vernacular, its “quale,” leads me to categorize it and, thus, respond appropriately to its stimulus. The function of (...) a quale being established, we must define it along with its subject and, as Sartre maintained, their relation. How should we understand the subject and predicate terms and the copula in sentences such as ‘He is listening to Chopin’ or ‘She is seeing the sights of Paris’? Elaborating upon adverbialism, I shall argue that the subject of experiencing is a hylomorphic compound that is temporarily identical to the 'accidental compound' that it forms along with a qualified passion. I begin by explicating the adverbialist’s treatment of qualitative consciousness and defending it against the charge of circularity. (shrink)

The aim of this essay is to elaborate philosophical and ethical underpinnings of posthumous diagnosis of famous historical figures based on literary and artistic products, or commonly called retrospective diagnosis. It discusses ontological and epistemic challenges raised in the humanities and social sciences, and attempts to systematically reply to their criticisms from the viewpoint of clinical medicine, philosophy of medicine, particularly the ontology of disease and the epistemology of diagnosis, and medical ethics. The ontological challenge focuses on the doubt about (...) the persistence of a disease over historical time, whereas the epistemic challenge disputes the inaccessibility of scientific verification of a diagnosis in the past. I argue that the critics are in error in conflating the taxonomy of disease and the act of diagnosing a patient. Medical diagnosis is fundamentally a hypothesis-construction and an explanatory device that can be generated under various degrees of uncertainty and limited amount of information. It is not an apodictic judgment as the critics presuppose, but a probabilistic judgment with varying degrees of plausibility under uncertainty. In order to avoid this confusion, I propose that retrospective diagnosis of a historical figure be syndromic without identifying underlying disease, unless there is justifiable reason for such specification. Moreover it should be evaluated not only from the viewpoint of medical science but also in a larger context of the scholarship of the humanities and social sciences by its overall plausibility and consistency. On the other hand, I will endorse their concerns regarding the ethics and professionalism of retrospective diagnosis, and call for the need for situating such a diagnosis in an interdisciplinary scope and the context of the scholarship of the historical figure. I will then enumerate several important caveats for interdisciplinary retrospective diagnosis using an example of the retrospective diagnosis of Socrates for his life-long intermittent neurologic symptoms. Finally, I will situate the present argument in a larger context of the major debate among the historians of medicine and paleopathologists, and discuss the similarities and differences. (shrink)

A theory of musical narrative. An introduction to narrative analysis : Chopin's prelude in G major, op. 28, no. 3 ; Perspectives and critiques ; A theory of musical narrative : conceptual considerations ; A theory of musical narrative : analytical considerations ; Narrative and topic -- Archetypal narratives and phases. Romance narratives and Micznik's degrees of narrativity ; Tragic narratives : an extended analysis of Schubert, piano sonata in B flat major, D. 960, first movement ; Ironic narratives (...) : subtypes and phases ; Comic narratives and discursive strategies ; Summary and conclusion. (shrink)

Henri Bergson was born in Paris on October 18, 1859, the son of a Polish father (Varsovie Michael Bergson) and an English mother (Katherine Levinson Bergson). Both Michael and Katherine Bergson were Jewish, and they shared a Hasidic background. Though Henri Bergson did not consider himself Jewish in any orthodox sense, he conceded that the awareness of belonging to an unfairly treated minority was to have a lasting influence on his life. While his father was a pianist – a popularizer (...) of Chopin – and composer, his mother was deeply interested in the arts, especially the contemporary literary world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 30-42 [Access article in PDF] How Can Music Seem to be Emotional? Kingsley Price Johns Hopkins University Preliminary Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really is (...) guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion. [End Page 30] The Problem Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place. The Perception In sense perception there are two major constituents.1 One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it... (shrink)

Very few nineteenth-century works are unintelligible in terms of a dual structure. Consider a Chopin Ballade or Etude as an example. Such pieces, with their continuous chromatic mutation and rhapsodic form, make little sense in classical terms. Yet once one grasps that the process of chromatic alteration is their norm, not a mode of deviation, they become perfectly and immediately intelligible. Their autonomy is in no way compromised, nor do the pieces require extrinsic support from language; any competent listener (...) will recognize that their structural tensions derive from the contrast between a continual attack on the stability of their tonal centers and the continual resilience of those centers as sources of structure. Chopin, like Schumann after him, may go so far as to treat the major and minor modes of one key as interchangeable; but even that only emphasizes the simultaneity of tonal stability and tonal instability which informs their works and clarifies their structures. Similarly, one can find in Brahms a deliberate return to the "premise structure" of classical music, as filtered through Beethoven; and Brahms' music clearly attempts to mediate between this structure and the normative instability of nineteenth-century harmony. Subotnik, however, is pressed by her thesis to deny the autonomy and dual structure of Brahms' music. So she says of him that "Those of his instrumental works which achieved popularity allowed the majority of listeners to perceive nothing in them beyond the individuality of Brahms' themes, gestures, and instrumental colors; within his works the classical identity of subjectively designed gesture and objectively rigorous structure was no longer generally audible."1 Subotnik offers no evidence in support of this claim nor does she mention a single work of Brahms in connection with it. In view of such transparently "classical" structures as the Variations and Fugue on a Theme of Handel, the Passacaglia of the Fourth Symphony, the Rondo of the Violin Concerto, and dozens of others, the claim seems improbable at best. · 1. Rose Rosengard Subotnik, "The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment," Critical Inquiry 4 : 761. Lawrence Kramer has written various articles on nineteenth- and twentieth-century poetry and on the relation between poetry and music. An assistant professor of English at Fordham University, he has written a book on Wordsworth and Keats. (shrink)

Attempts to understand recent changes in the canon of American literature through the aid of psychoanalytic theory.

We compare William Henry Fox Talbot’s 1835 photographic negative 'Latticed Window (with the Camera Obscura) August 1835' with Richard Beaudoin’s 2009 solo piano work 'Étude d’un Prélude VII -- Latticed Window'. We claim that the score of Beaudoin’s work is a musical photograph of a performance of another musical work, and support the claim by describing their respective photographic and compositional processes, emphasizing the uniqueness of this score in being mechanically counterfactually dependent on its target (a recording of a (...) class='Hi'>Chopin prelude performed by Martha Argerich). We then compare Beaudoin’s score with other possible musical photographs, including musical recordings, sonic spectrographs, ordinary musical transcriptions, and typical musical scores. Finally, we consider an argument based on the transparency of photographs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hazel E. Barnes FLAUBERT AND SARTRE ON MADNESS IN KING LEAR T'oward the end of the second volume of The Family Idiot (L'Idiot de la famille), in a section called "Exercises and Reading," Sartre discusses Flaubert's reading of Shakespeare.1 In the context Sartre describes how Flaubert spent his time during one of the rare periods when he was not even attempting to write anything; more than two years elapsed (...) between the completion of the first Sentimental Education in January 1845 and die beginning of his collaboration widi Maxime Du Camp on La Bretagne. Along with doing desultory background reading for "an oriental tale," and analyzing the plays ofVoltaire, Flaubert claimed to be studying the Greek and Roman authors and a selected few of the later "great immortals." Sartre shows that Flaubert's way of reading them was entirely different from the critical analysis which he directed on the work of his contemporaries. Essentially it was a series of"rereadings," and its purpose was not to gain knowledge or even a fuller understanding of the text. In a letter to Mlle de Chantepie, Flaubert counsels her to take one of the great writers and "study him in depth," reading from beginning to end and then starting over again: "But do not read, as children read, to amuse yourself, nor as the ambitious read, to instruct yourself. No, read so as to live. Create in your soul an intellectual atmosphere which will be compounded from the emanation of all the great minds."2 How can Flaubert both counsel his correspondent to study in depdi and not to seek instruction? The kind ofstudy he has in mind, Sartre claims, is comparable to the way in which an amateur pianist might "study" Chopin, where die aim is not to understand analytically but to perfect a particular interpretation and to evoke a certain aesdietic reaction. Flaubert resists instruction because new knowledge risks forcing change. What he wants is 211 2 1 2 Philosophy and Literature to rediscover the same eternal truths and emotions.3 It is also to find inspiration for his own dreams, an oneiric reading. In this connection Sartre makes two important points. First, in striving to cultivate for the soul "an intellectual atmosphere... compounded from the emanation of all the great minds," the artist is adding so many strings to his lyre — the laugh of Rabelais, the cosmic passions of Shakespeare, the skepticism of Montaigne. This is whyJules at the end of die first Sentimental Education plans to study die great writers, beginning with Homer — not to learn dieir technique but to enlarge the artist's sensibility. Sartre's second point is made apropos of Flaubert's rereading of Shakespeare. Flaubert fluctuates between two responses. Sometimes he is depressed at the thought of his own lack of genius in comparison with Shakespeare. "That good man will drive me mad.... All odiers seem to me children beside him."* At odier times he experiences what Sartre calls a "glorifying identification." It is as though in imagination he becomes Shakespeare. In part this is because, as he writes in this same letter, we artists "breathe in our existence by means of die sentence." Sartre notes that for Flaubert the existence in question is a literary reality, not that of die everyday world; we may breathe it in either dirough writing or through reading. At this particular moment in his life, Sartre argues, Flaubert's program of study was in bad faith. He allowed die imaginary identification to suffice. Sartre goes so far as to say, "He reads in order not to write; in diis masturbatory substitute for the act, he makes himself an aumor all at once, under anodier name, in order not to work at becoming the writer of genius he wants to be." This comment makes sense if we recall Flaubert's situation in 1845-47. After the nervous crisis at Pont-L'Evêque he knew that either he would be a writer or he would remain a feeble invalid, an object of pity, the "family idiot." "There he is, dien, paralyzed by two opposing forces: hope and die fear of being disappointed " (p. 2021). No wonder he... (shrink)